DRAMA READING DRAMA 2 WHAT IS A PLAY? a play is a written document script text prompt book 3 WHAT IS A PLAY? it is written to be seen, performed collaboration script actors director set designers costumer designers makeup artists lighting & sound engineers 4 DRAMA & FICTION, POETRY SIMILARITIES elements Plot, Characterization Structure, Atmosphere Theme, Symbolism, POV 5 DRAMA & FICTION, POETRY DIFFERENCES interaction written to be performed quick exposition (engaging) one sitting – 1st & foremost to be read & studied, too can’t be stopped, picked up later (as a paperback) not rewound, watched again 6 DRAMA Page vs. Stage Reading Drama vs. Watching Production to study the language to pay careful attention to detail to ascertain the nuance of the language word choice symbolism allusions re-read parts make connections get clarity close examination DRAMA HOW TO READ A PLAY 8 I. LISTEN TO THE LINES Careful Reading – feel the tone of the language listen for emotion behind the lines passion, love, assurance anger, fear, defiance 9 I. LISTEN TO THE LINES Performance Reading – read the lines out loud read them with others act out scenes in class see the work performed 10 II. VISUALIZE THE SCENE “Scene” = Staging see the action on a stage a production in your mind’s eye read like an actor/director 11 II. VISUALIZE THE SCENE TYPES of STAGING (a) proscenium arch proscenium arch apron arch over which the curtain hangs space between the foot of the curtain & the floodlights upstage toward the back 12 II. VISUALIZE THE SCENE TYPES of STAGING (a) proscenium arch downstage 4th wall toward the apron the “missing” wall the audience’s perspective flats canvas-covered frames/backdrop 13 II. VISUALIZE THE SCENE TYPES of STAGING (b) theatre-in-the-round aka, arena staging audience sits around the stage raised no 4th wall perhaps more intimate setting greater immediacy feel as if part of the action 14 II. VISUALIZE THE SCENE TYPES of STAGING (c) Theatre of the Absurd lack of traditional staging, plot, character, action can keep or remove or both all of the above 15 III. ENVISION THE ACTION DRAMA = “not a medium of words BUT of people moving around onstage using words” 16 III. ENVISION THE ACTION Thus non-verbal elements – movement gesture Setting so read imaginatively like an actor/director 17 III. ENVISION THE ACTION stage directions: cues for written by the playwright gestures movements facial expressions tone of voice detailed sparse written by editors (SHK) 18 IV. C/C DRAMA ON FILM filmed productions live productions recorded BBC SHK movie adaptations more movie than play Hollywood versions 19 IV. C/C DRAMA ON FILM C/C Questions: 1. What has been cut/added (characters, scenes, subplots)? 2. How does the characterization of the role/s differ from your original? 3. Do you agree with the casting? 4. Do camera actions (zoom, close-ups, reactions shots) focus your attention on certain characters or add to the appreciation or understanding of certain scenes? 20 IV. C/C DRAMA ON FILM C/C Questions: 5. 6. 7. 8. Is the setting faithful to the script or have liberties been taken? Would the play make a better movie or stage production? Does the film version enhance your understanding of the play? How would the playwright react to the filmed version? 21 IV. C/C DRAMA ON FILM C/C Questions: 9. As the director, what decisions would you make in terms of pace, costuming, setting, casting, characterization, costume design? 22 V. CRITICAL QUESTIONS Main Conflict resolved How? Subplots What are they? How do they enhance the main plot? 23 V. CRITICAL QUESTIONS Traditional Dramatic Structure (see below) Exposition Complication Climax Dénouement Resolution 24 V. CRITICAL QUESTIONS Protagonist character analysis tragic error/fatal flaw hero or anti-hero Minor Characters flat, expository function foil to main characters oppose, contrast, criticize help develop main char. 25 V. CRITICAL QUESTIONS Time & Setting integral Can it be changed? Title clue to understanding What would yours be? 26 V. CRITICAL QUESTIONS Theme Genre Comedy or Tragedy Tragic-Comedy unimportant Realistic Presentation theatrical devices lighting, music, costuming, real/surreal settings DRAMA DRAMATIC STRUCTURE 28 PLOT story Aristotle’s “fable” beginning, middle, end 29 ARGUMENT “agon” the heart of the dramatic story the CONFLICT surrounding the ARGUMENT creates Tension & incites interest the 2 sides of the argument the “pro” and “con” = Protagonist, Antagonist 30 PROTAGONIST HERO or HEROINE 1 person or many 31 ANTAGONIST VILLAIN 1 person, group, or force (supernatural, natural) 32 DRAMATIC STRUCTURE establish a conflict develop both sides of the argument reach a credible conclusion (Rogerian Method) 33 (1) POINT of ATTACK the starting point from which the dramatist leads the audience into the Plot opening scene 1. begun at the beginning 2. in medias res 3. characters & audience find out at the same time begun “in the middle of things” reveal events that have already taken place (Exposition) begun toward the end reveal events that have already taken place (Exposition) 34 (2) EXPOSITION the revelation of facts, circumstances, & past events essential facts @ characters or conflict revealed through minor chararacters through jumping right into the action 35 (3) RISING ACTION the building of interest through COMPLICATION of the Conflict “Complication” moving the Protagonist & Antagonist toward confrontation 36 (4) CLIMAX the “high point” of the action the showdown between the Protagonist & Antagonist the TURNING POINT point of no return 1 event or series of events 37 (5) FALLING ACTION the unraveling of the Plot events fall into place the Conflict moves toward Resolution 38 (6) DENOUEMENT the “untying” of the knot the play’s conclusion, explanation, or outcome of the Action the end of the play (go home!) wedding, lovers’ kiss, song death, pieta CATASTROPHE – the Denouement of a Tragedy often with the death of the Hero/Heroine 39 DRAMATIC STRUCTURE FREYTAG’S PYRAMID of TRAGEDY 40 EXPOSITION of ANTIGONE Sophocles: (c.495 BC –c.405 BC) only 7 of his 120+ plays survive (Theban trilogy) Oedipus the King, Oedipus at Colonus, Antigone Electra, Ajax Philoctetes Women of Trachis (The Trachiniae) 41 EXPOSITION of ANTIGONE Sophocles: (c.495 BC –c.405 BC) born in Colonus (near Athens) studied under Aeschylus (master of Greek tragedy) 42 EXPOSITION of ANTIGONE Sophocles: (c.495 BC –c.405 BC) themes: no questioning the justice of the gods assumed a divine order that humans must follow protagonists: strong-willed prideful lack of self-knowledge end tragically b/c of such traits (hubris) 43 EXPOSITION of ANTIGONE Antigone 3rd play in the trilogy written 1st 442 BC 44 EXPOSITION of ANTIGONE King Laius of Thebes & his descendents= cursed by Apollo Oracle of Delphi Apollo’s oracle warns that Laius’ son will kill him Laius abandons Oedipus to die in the mountains 45 EXPOSITION of ANTIGONE Oedipus survives later meets & kills his father (unbeknownst to either) on road to Thebes solves the Riddle of the Sphinx & becomes king of Thebes unwittingly marries his mother (Jocasta) & has children later discovers his incest (& patricide), blinds self, leaves Thebes 46 EXPOSITION of ANTIGONE Creon, Jocasta’s brother, becomes king & guardian of Oedipus’ 2 daughters Antigone Ismene Oedipus’ 2 sons vie for throne Polynices Eteocles 47 EXPOSITION of ANTIGONE Polynices = driven out of city but returns w/army Polynices & Eteocles kill each other in the ensuing battle Creon becomes king Antigone opens w/Antigone & Ismene discussing Creon’s 1st decree 48 FOLLOW-UP of ANTIGONE Exposition opening scenes Chorus the Sentry Conflict Protagonist (hero/heroine) Antagonist (villain) 49 FOLLOW-UP of ANTIGONE Climax too early Catastrophe/Denouement What is it? 50 FOLLOW-UP of ANTIGONE Themes clash w/authority, rules, norms, traditions politician vs. anarchist *public policy vs. individual conscience gender conflict male vs. female 51 FOLLOW-UP of ANTIGONE Ismene as Foil to Antigone Eurydice subplot updated settings: professor vs. student in Nazi-occupied France in 1940’s Japanese-American internment camp 2003 Iraq War, Patriot Act DRAMA DRAMATIC CHARACTER 53 HERO Hero: self-sacrifice self-control saves others, risk own life awe-inspiring feats 54 HERO Classical Tragic Hero: (Aristotle on the Tragic Hero) high renown upper class (rich & famous) inevitably destroyed by inherent tragic flaw 55 HERO Classical Tragic Hero: (Aristotle on the Tragic Hero) tragic flaw too much of a typical human attribute pride, willfulness jealousy, indecision, giving suggests BALANCE order & proportion of traits within imbalance brings calamity 56 HERO Modern Tragic Hero: Aristotle vs. Arthur Miller not rich & famous not tragic flaw not a clash within 57 HERO Modern Tragic Hero: Aristotle vs. Arthur Miller but average person/“Common Man” but contrast between idealized self-image & reality but conflict with society environment denies the fulfillment of self-image stature gained not by wealth but by pitting self vs. cosmos 58 HERO Modern Tragic Hero: Aristotle vs. Arthur Miller displacement disillusionment indignity 59 HERO Modern Tragic Hero: Aristotle vs. Arthur Miller Death of a Salesman Willie Loman self-image = well-liked, successful, worldly businessman reality = ridiculed, on edge of poverty Fences Troy life passing by, world changing the way grew up vs. world living in self-deception, self-delusion self-protective illusion self-protective illusion deceptions & lies DRAMA CULTURE 61 CULTURE habits of thought behavior feeling invented by humans taught to other humans passed down to descendents (of humans) 62 CULTURE BUT not practiced among ALL humans connected to age religion ethnicity race social class sexual orientation 63 LITERARY WORK part of its social context part of the culture in which it was produced the culture it was produced in the culture it is read in both a product of its culture a contribution to that culture study a work to learn @ its culture study a culture to learn @ a work 64 LITERARY WORK since literary works often critique the society of their times they = fitted for cultural analyses they attack/support particular social values, problems, norms, practices, traditions, beliefs rituals, racism, ageism, indifference, materialism 65 CULTURE & LITERATURE culture = conditions of the world at the time of literary creation affect the presentation of the work’s themes 66 CULTURAL ANALYSIS HOW TO: classify characters into groups age, race, religion, ethnicity, physical disability, class, sex, sexual orientation note how characters classify or stereotype other characters or people in general note themes of power & oppression symbols of power, prestige (which are culturally defined/determined) power relationships (who’s really in control) 67 CULTURAL ANALYSIS HOW TO: elements from sociology and psychology courses “human universals” how does this culture (US 2010) define success, power & those other terms that make the culture DRAMA CRITICAL APPROACHES TO DRAMA 69 CRITICAL APPROACHES Dramatic Elements Plot, Subplot Character Theme Setting Argument (Conflict & Resolution) 70 CRITICAL APPROACHES Production Elements acting directing casting lighting sound pace 71 CRITICAL APPROACHES Dramatic Genre Tragi-Comedy Comedy Tragedy Modern Classical 72 CRITICAL APPROACHES Gender Roles traditional modern Culture in which written in which read